MAM
Kellogg’s launches ‘Breakfast Se Badhkar’ – new campaign for consumers’ daily triumphs
MUMBAI: Kellogg’s, India’s leading breakfast cereal brand, launched a new campaign titled ‘Breakfast Se Badhkar’. The campaign is brought to life with a multimedia and multilingual film and looks to partner mothers in their daily attempt to provide nutrition to their children in time-pressed mornings.
The campaign takes on a unique approach by narrating the perspectives of children through the film. They are seen engaging in everyday settings like a playground, in the classroom and in extra-curricular activities. The film then brings out mother’s aspiration in helping her child achieve those tasks with an emotional appeal of offering ‘ek chammach aur’, translating to one extra spoon of food in the morning. It’s her attempt of urging her child to perform an extra task during the day to achieve that daily triumph, academically or beyond. The film finally ends with showing a bowl of Kellogg’s cereal with milk as a nourishing option of a balanced breakfast which has the ‘Power of Five’ – energy, protein, calcium, iron and vitamins.
The new communication has multiple legs, including a digital film on YouTube, a film in multiple languages on television across multiple genres, targeting mothers between the age group of 25 – 44, and mother advocacy blogs propagating the importance of a balanced breakfast in line with Kellogg’s own offerings.
Kellogg South Asia director marketing Sumit Mathur said, “As an organization, we live by the purpose of ‘Nourishing India’s Potential’. We have demonstrated it in several ways. We recently announced our ongoing programme of offering a bowl of Kellogg’s cereal with milk to children from underprivileged sections of society as daily breakfast. We are also on a mission to drive a behavioral change to many urban Indian consumers who skip or skimp breakfast due to lack of time. The new Masterbrand campaign is our attempt to bring alive our purpose and drive this behavioral change. The film explains how breakfast is the morning hero to help achieve children their best that day and every day. This insight is supplemented with an endearing and relatable touch where a mother’s concern for her kid is captured in the phrase ‘ek chammach aur’.”
Ogilvy executive creative director Anurag Agnihotri said, “A mother usually wants her kid to eat just a bit more. We took this insight to mean that every time a mom says to her kid, “ek chammach aur kha lo”, what she actually wants is “to push a bit harder everyday”. ‘Ek chammach aur’ is the insight that has gone into Kellogg’s latest communication. The stories are told from the kids' point of view. Engaged in some activity or sports, they charm the viewer by demonstrating what is it that mom means when she coaxes them to eat just a bit more. In the process, Kellogg's is seen as a great option for every morning, a breakfast which is ‘Breakfast Se Badhkar’.”
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
